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Running with Scissors

I've never read Augusten Burroughs' "personal memoirs" (as the previews so willingly must insist), and after seeing the film with the same name, I kind of want to. Not because the film left things unanswered or made me feel captivated by the story - it was because it's hard for me to imagine that a movie like this can exist, as well as be based upon something regarded as worthy of being adapted for the silver screen.

The synopsis is as follows :

Young Augusten Burroughs (Joseph Cross) absorbs experiences that could make for a shocking memoir: the son of an alcoholic father (Alec Baldwin) and an unstable mother (Annette Bening), he's handed off to his mother's therapist, Dr. Finch (Brian Cox), and spends his adolescent years as a member of Finch's bizarre extended family.

A wolf in sheep's clothing, Running With Scissors is not a good movie. It's not about good people either, but that doesn't factor into my opinion. I'll actually admit that I like movies about bad people vs. good. Ryan Murphy, the creator of FX's Nip/Tuck has his name splashed all over nearly every inch of this production. Could it be that he was infatuated with the book? I'll go with yes. His lack of experience as a director and writer are obvious, and painfully not up to par to helm a motion picture. Where we could have seen a cutting drama and satire about the abnormal psyche, we are instead left with a bland excuse to play groovy 70s tracks here, there, and everywhere. Where we could have characters, there are instead caricatures. And where a story, no matter how unbelievable and obscure, feels lifeless... even DOA. I sorta feel bad for Augusten. Not only did he have a truly messed up and sad childhood, the poor guy has this limp sack of a film as an example of it.

Annette Bening is a good actress, right? Well, that's questionable, since she still doesn’t have that damn Oscar, which she’s totally begging for here as Augusten's mother Deirdre Burroughs. She just seems to have taken her character Carolyn Burnham from American Beauty and put her through drug addiction- one such addiction that is oddly unenthusiastic, typical, and weak. Evan Rachel Wood does what she does best - play the young sex pot who can emote as much as a Mr. Potato Head. Gwyneth Paltrow, Joseph Fiennes, and Brian Cox, however, are probably the only unscathed beings from their parts, as their characters are so crazy that we accept it, just to get along with the rest of the picture. I will say that Paltrow's insanity did bring a slight smile to my face, as well as Fiennes' pouty photographer who beds Augusten. Joseph Cross' Augusten is sort of in the middle ground- he will go unscathed, and most likely lost in the mix. But the others? They're just minimal side characters who show up once in a while to say something goofy.

You know what? I'm not even going to elaborate beyond that because its just not worth your time or my own. The ENTIRE movie is a wash. Oh, and you know what? I just forgot that Alec Baldwin was even in the picture. That's how insignificant he is, much like this entire film. A silly, terrible, boring, flat, and rather contrived exercise in dysfunction. Thank goodness for free screenings.

Posted by madamczyk at 11:41 PM | Comments (0)

Shortbus

Flash back to 1979 - Penthouse Publisher Bob Guccione attempts to blend real sex with drama in the epic historical disaster Caligula. Now, in 2006, John Cameron-Mitchell's Shortbus is a film that tackles the issues of sexuality and relationships head-on, with nearly every actor in the movie taking part in a sexual act that isn't simulated. Is it porn? I'm going to say no, but there will be others that disagree. After all, sex is a major, intricate part of real life and Shortbus doesn't want you to forget it.

Sofia, a couples therapist, has a major problem that is plaguing her everyday life, as her internal noise interferes with her job and how she functions as a human being. What's Sofia's diagnosis? She can't have an orgasm. The reality that her husband can't give her an orgasm keeps her from being open about the problem.

Jamie and Jamie (or James, as he changes it to accommodate their situation) are looking to possibly add another person into their relationship. A threesome, yes. Jamie is in love with James, and James is in love with Jamie. But James has issues with his past that haunt him so much that he is filming a personal movie... what it's for? you'll have to see for yourself.

Finally, the dominatrix named Severin, the seemingly simple single female, compared to the Jamies and Sofia, just wants a relationship. She possibly hasn't had a single one ever in her life, and would like a connection to another person, which doesn't have to be sexual, but should be deep and involving.

So where do these four conflicted souls meet to work their lives out? None other than Shortbus, the orgy/brothel/sanctuary/salon with a conscious thought process and much awareness to so-called sexual "dysfunctions," giving pleasure to those who need it, either with others or with others watching. Nobody at Shortbus rides the big yellow Schoolbus, and the palace opens itself to them, giving their pain and needs a home to feel what they want and do as they please.

The film Shortbus is not afraid of the problems that hamper the main and supporting characters. In a day and age where movies can be edited for content, Mitchell's film wants to rip the rug off the stain on the floor and expose the open wound of not only these people, but for their New York City. The love note that the film gives to these oppressed feelings and the undeveloped ground-zero leaves both with nothing but respect, and exposure that is anything but judgmental. You will not find a stereotypical gay couple or a frigid married female or a slutty S&M goddess. Too often perception puts on the blinders and prevents the reality to be brought out in front of us on film- and that's the beauty of this movie. Often these are not actors playing people with problems, but actors putting a face to what we chose not to face in others and ourselves. While not all of us have issues with our sexuality or in the act of sex or just with other people- are we so sure of it? Can we look inside our core, accept who we are and face the issue without degrading ourselves?

While it is not a perfect film, Shortbus is a revelation. Again, it is not pornography, but Mitchell's seamless placement of sexuality and drama is stellar. This could possibly be one of the most important films of the year, if not the decade. And it most likely will not be able to be seen by those who should. So thank goodness for DVD. Put "Shortbus" on your "To-do" list... no pun intended.

Posted by madamczyk at 10:39 PM | Comments (0)

Marie Antoinette

As far as scenester directors go, Sofia Coppola is a silent leader of the pack. Her two previous films, "The Virgin Suicides" and "Lost in Translation" defined a new era of film fans through her subtle masterworks which contained lush visuals and "hipster" music, with undeniably talented screen stars providing some of their best roles to date. Marie Antoinette does take advantage of these factors through this historical drama of sorts about a young Austrian who will one day be queen of France, but it's a step backwards for Coppola, despite her immense talent and blend of composition.

To an extent, Kirsten Dunst is quite right for Antoinette. Her youth and unease of transition are evident and well played at first, but somewhere along the line where Marie has to be a provocateur, she doesn't seem so right anymore. The dress-up sets in and she's just sort of moving along with the flow. But that's not to say that Marie doesn't do the same herself when settling in to her position as Queen. However, in comparison to her partner Jason Schwartzman as Louis the 16th, we can see which young actor is playing the role and which of them is simply playing. Schwartzman, in every scene that he appears, manages to be totally interesting, obtuse, and never boring.

If you can survive the first timid 20 minutes of the film without a hitch, you're probably one who is suited for Marie Antoinette- otherwise, head for the exit immediately. The film is often beautiful, well-shot, swiftly edited, and easy, but it's a lack of development through the script that neglects these facts, leaving the remaining parts of the movie to fulfill nothing more than a music-video context. So much could have been done on the part of Coppola through dialogue, but it's just not there. While looking and observing is nice to do at times, it shouldn't be the main focus for a film like this. The underdeveloped examination of characters makes the film seem fluffy ... is the movie nothing more than an excuse to pair Bow Wow Wow's "I Want Candy" with a sequence of fancy footwear? Maybe. But it's still fun to see someone like Rip Torn dress up to play Louis the 15th, as well as Asia Argento as his mistress Madame du Barry and Comtesse de Noailles played by the tightly wound and luminous Judy Davis.

While it is evident that Sofia Coppola can handle the transition between a big budget period pic from her subtle character dramas, she still has her work cut out for her in the future. Antoinette in the end fails because behind the veneer of history, the film is empty without a real, fully developed script. And while the film isn't anything for the average viewer to easily consider, I wouldn't put it past anyone else if they did end up skipping it. At 123 minutes, Marie Antoinette isn't really worth the effort and time, even with the interest for Marie herself or the love for Coppola's previous work.

Posted by madamczyk at 11:38 PM | Comments (0)

Scary Stuff 2.0

You know what time of year it is. Click away for the 2006 edition!

Michael Powell's PEEPING TOM is not so much a story about a murderer, but more an examination of personal conflict. The peeping tom pierces his victims with striking images, and as he moves closer to their soul through his lense, their deepest fears are realized. As hard as the movie is to describe, it's easy to watch, even when the film is at its most disturbing.

SLEEPAWAY CAMP is not the stuff of nightmares by any means. It's a horror movie with loads of awful lines only outdone by their horrid delivery by amateur actors and their cheesy death scenes- but this is what makes a bad horror movie enjoyable, right? However, the conclusion is what makes the movie outshine nearly everything similar in the genre. It's almost too brilliant, since you'll never, EVER see it coming and will consider watching the entire movie again just to check for hints that you missed.

Read the cover carefully - this direct-to-cable sequel isn't what it seems.In WHEN A STRANGER CALLS BACK, Jill returns (back when Jill wasn't supposed to be a stupid teenager), and she wants revenge upon the new stalker terrorizing another weepy babysitter. Yes, it's direct-to-cable, but it's a hell of a lot better than the original WASC. Don't even ask about the remake... ugh dreadful - but this is not. If you can find it in your rental store or playnig on the Lifetime network, give it a try.

WAYYY back before William Petersen was on CSI and even before Hannibal the cannibal was played by Anthony Hopkins, Thomas Harris' MANHUNTER was brought to the screen by Michael Mann. Yes, this is Red Dragon. Apparently, the studio thought that people would think it was a karate movie and decided on Manhunter. Hannibal is played by none other than Brian Cox. You know who he is - and if you don't, you know his face. But the story isn't about the cannibal and it isn't about a woman named Clarice. It's about a cat and mouse game between Petersen's Will Graham and total weirdo Francis Dolarhyde (now, if you want nightmares, this is the movie you will want instead of Brett Ratner's impotent Red Dragon). Even Joan Allen shows up to play Reba, the blind woman who falls for Dolarhyde. Of course she can't see how much of a psychopath he is, but her performance is the stuff of magic. Actually, this entire movie is magic. This is a thriller and it brushes with natural horror in masterful ways.

Posted by madamczyk at 12:33 AM | Comments (0)